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  • MISTER PARADISE and other rare electrical things between people


    Auteur :

    Tenessee Williams

    Metteur en scène :

    Anne Simon

    Assistant mise en scène :

    Natalie Werle

    Décors :

    Lisa Überbacher

    Costumes :

    Lisa Überbacher

    Maquillage :

    Joël Seiller

    Avec :

    With: Steve Karier, Christine Probst-Staffen, Elisabet Johannesdottir, Daron Yates

    Une production :

    Théâtre National du Luxembourg

    Lieu de production :

    Théâtre National du Luxembourg

  • Tickets Jeudi
    07 janvier 2016
    Tickets Samedi
    09 janvier 2016
    Tickets Samedi
    16 janvier 2016
    Tickets Dimanche
    17 janvier 2016
    Tickets Jeudi
    21 janvier 2016
    Tickets Vendredi
    22 janvier 2016
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MISTER PARADISE and other rare electrical things between people

His characters are seemingly « just folks », but those simple folks become larger than life, they become poetry, music, they become the American Blues, as the playwright fills them with pain and humor and breathes into them a nobility of spirit. This is the moment where words become theatre, where a universe is created by the simplest of means.


Tennessee Williams, the greatest playwright of the American South, wrote dozens of brief plays throughout his life exploring many themes that dominated his best known works. Anne Simon explores five of the most recently published one-act dramas, all written before achieving recognition for The Glass Menagerie, revealing some of his most poignant and hilarious characters, discovering unsuspected patches of poetic beauty and insight and tracing some new pathways into the lush world of Williams’ imagination. These one-act plays all tell the tales of isolated figures, some of them naïve, some of them just too aware, struggling against a cruel world, torn between the fulfilling of their dreams and a natural inclination to conformism.


The Fat Man’s Wife and Mister Paradise draw certainly the two

characters most directly referring to the playwright himself: the first one, young and eager to leave New York in order not to compromise his art, the other, Mister Anthony Paradise, the old, suffering, unknown writer whose true existence will only begin once his earthly self has come to an end, seem opposing, yet complementing forces – like an x-ray look into Williams’ soul. All five of these one-acts give a strong sense of Williams’ courage, his sensitivity to the outsiders of life, his wicked sense of humor, and most of all his compassion without ever turning to the negative.


This collection of plays might be about death and things lost, or never achieved, parents or regimes never contested, as in Why do you smoke so much, Lily or The Municipal Abattoir, but it is all the contrary to a complaint. Life is celebrated against all odds, like in the character of the young, dying charity case Dave in The Big Game: his entourage and himself try to keep the thought of death out of the hospital room for as long as possible.


In all sadness, regret and nostalgia, Williams’ and his characters’ thoughts always motion upwards as Anthony Paradise puts it: The motion of life is upwards, the motion of death is down. Only the blin-dest of all blind fools can fail to see which is going to be finally – highest up… Life–LIFE.